Electric Trees

 Previous NextElectric Trees Quilt - Allison Green

Electric Trees
Silk face, polyester interior and backing. Various threads including metallics. Each 12″ x 24″ © Allison Green 2013.

Set of two stitch drawings with ink accents. Based on  a transformer tower. Explores similarities between the natural world and the man-made.

See how it was constructed.
Previously displayed at M&T Deli in Fredericton, NB. #1 sold to private collection, #2 pricing available upon request.
Electric Trees Quilts - Allison Green 9 Electric Trees Quilt Back - Allison Green

Astral Ink

Astral Ink Quilt - Allison Green_8Astral Ink
Silk face, polyester interior, canvas backing. Various threads including metallics and variegated. 48″ x 36″.
© Allison Green 2013.

Silk painting with Procion dyes, free-motion quilting to within 1/2″. Designed after a photograph of ink swirling around with textile medium. This is a commentary on the mixing pot that is space, and the fluidity of time.

See how it was constructed.
Previously displayed at M&T Deli. Pricing available upon request.

Astral Ink Quilt - Allison Green_5 Astral Ink Quilt - Allison Green_3

Silk circuit

silk circuit copySilk Circuit
Silk face, polyester interior, cotton backing. Various threads including metallics. 20″ x 16″ © Allison Green 2013.

Silk painting with Procion dyes, machine quilted to within 1/2″. Based on a circuit board. Exploring the idea of beauty in industry, and the relationship between textiles and technology.

See how it was constructed: Part 1, Part 2, Part 3
Sold throughM&T Deli in Fredericton, NB.

silk circuit_8 copy Silk Circuit

Here be monsters

Here be monsters

Here Be Monsters
Cotton, gouache, textile medium. 48″ x 36″. © Allison Green 2012

Painted quilt featuring trapunto, appliqué, and free motion stitching. Inspired by a map of an area in Cape Breton where much of my family’s history played out.

Created and sold at M&T Deli in Fredericton, NB.

Here be monsters detail

The Crossing

The Crossing by Allison Green

The Crossing
Linen, quilt batting, gouache, cotton, and textile medium. 32″ x 16″.
© Allison Green 2012.

Painted quilt with free-motion machine stitching and hand-embroidery. Inspired by the old train bridge in Fredericton, NB. Now converted into a walking trail, this piece show the softening of the bridge over time. Sold in the Summer 2012 Isaac’s Way Art Auction for youth music lessons.

Railway crossing 120 (2) (1280x1187)

Physical felt.

Made some neat felt samples last week. I love felting class. It’s really a full-body art form. Your arms are so tough by the end of the day and you have so much texture to show for it!

This one was a secondary fibre sample, a variety of different wools, silks, I can’t even remember what all. It is coloured with acidwash dyes in island blue.

And so with this one. As you can see the colour is very uneven, by design. This is accomplished by putting very little water in your dye pot, stirring it not at all, and never letting it boil too robustly. Oh, and it’s best if you use a dye that is a mix of many colours, like chestnut, plum, and island blue. This causes the dye to split in the pot and you get a whole collection of colours on your felt.

This next little guy is the product of resist felting. You put down a couple layers of wool, then a bit of bubble wrap, then more wool, then more bubble wrap, until you have a nice little tumour. Then you rub rub rub until it’s nice and felty.

Then you cut open all the layers of your lovely little boil, and pull out the bubble wrap. It practically jumps out at you! The felt shrinks around it and so it gets all balled up in there : ) This one has some plastic mesh in one of the layers. Wouldn’t it look cool with a big marble in that hole?

This one has nylons felted in. Yes, nylons as in pantyhosen. It has just a tiny bit of sparkle and a bubbly monster skin effect.

This next one uses polyester organza, and has beautiful dimpling. This happens when you felt into secondary structures like porous fabrics. As you felt the barbs of the wool latch onto your cloth. Then as the felt shrinks, it gathers the cloth along with it. I dyed this piece later and was shocked that the polyester took the colour. I knew acidwash would dye nylon but not this kind of thing. Super cool.

I also biffed this silk hankie in on top of my chestnut dye pot when I was colouring the resist pieces above. While they came out brown and green, this guy ended up mustard and navy blue. Just goes to show the number of colours that go into that dye.

Our next project for that class is a scarf inspired by a photograph of a sky. I chose a nebula. Specifically this nebula (found here).

Thinking about trying to felt in some glass bits for the stars. We shall see how that works out. Little behind on the schoolwork what with finishing off the light fixture masterpiece, but c’est la vie. I have only exciting projects left so it won’t take a whole lot of motivation : )

Your house is on fire.

During Monday morning’s history class I made up this pretty warp for my scrappy indigo neck cuffs. Wasn’t sure about the colour combo to begin with but I like how they jive.

I’ve also finished tea dyeing the cloth strips for the weft.

Also on Monday I finished up and presented my mixed media nursery rhyme collection. The next step is to develop a repeat pattern and a few co-ordinates from my favourite. I’m going to go with Hickory Dickory Dock.

Interesting factoid: “hickory, dickory, dock” probably originated as “hevera, devera, dick” which meant “eight, nine, ten”.

This was made using a textured gesso ground with acrylic paint rubbed in. The little mouse hand is copper foiled.

This one follows the rhyme: “Ladybug, Ladybug, fly away home. Your house is on fire and your children are gone.” Very cheerful. It was made with textured gesso and acrylic with collaged red silk.

This next one is from Sing a Song of Sixpence. “Four and twenty blackbirds baked in a pie.” I’m not quite as pleased with this one as it doesn’t really go with the rest. That wasn’t a requirement but it would have been nice. The background is uneven-dyed silk, and the pie is simple cardboard. Many of the blackbirds are cut from old children’s books I bought at the Owl’s Nest used book store. If you are ever in Fredericton check it out, it’s a labyrinth of stacks and owl paraphernalia.

This last one is from the very best nursery rhyme, Peter, Peter, Pumpkin Eater. It was Warren’s favourite of the bunch. He had the idea to paint little rivets on the vellum windows, like it was sealed from the outside. This has a whole host of collaged elements, from tinfoil to string to cloth to buttons. It looks extra cool with light shining through the translucent window areas.

These were very fun and gestural pieces. I would recommend that everyone try playful ventures like these. Before this stage we made about 40 8″x10″ samples to try different textures. It’s been a freeing exercise, and I now have all these greats bits and pieces I can re-purpose later.

Also this week a few of my screen printed scarves were up in the hall at school. The print on the left was made from a photo of some laptop circuitry, and was printed on silk with fibre reactive dyes. The one piece on the right was discharge printed. The image was derived from a charcoal drawing of my grandfather’s headphones which I made when I worked as a demonstrator at the open house in November.

The center piece in mauve is velvet with burn out printing (also called devore). You print with this fancy chemical which when ironed removes cellulose fibres. Since the pile on the velvet is rayon, it gets eaten away, leaving only the protein-based silk underneath. It gives a very lacy feel to cloth and is quite simple to achieve. The only tough part is knowing when to stop ironing.

We have a soft book assignment coming up in my Digital Tools class which is a thousand times less restrictive than more of the projects in that class. I’m thinking of a circular science-themed book. The hard part is figuring out which sciences to include.

Hard to think of anything much until I get the lighting commission taken care of. It’s due in about a week and a half and so the anxiety it rises. It’s coming along, and I’ve hired the boyfriend to help speed up the process. Wish me luck! No time for mistakes, knock on wood.

One goes up while the other comes down

The saltscape city has crumbled into the sea, but I’m sure it won’t be my last fling with crystal-making.

The show I took part in at Gallery Connexion, called “The View”, came down today. It was mostly for students at my school. I had a few pieces in it that I made last year while taking the Foundation Visual Arts program:

The piece below is a ceramic lizard eye. The nice lady who runs the gallery told me it looks like a vagina. Go figure.

This one is a cross-contour pomegranate I made from pen and ink in my first ever drawing class. One of my prouder moments.

This is a piece I made for art history, inspired by Gustav Klimt and Egon Schiele. It is probably the largest painting I’ve made, and includes gouache, acrylic, acrylic gel, and copper foil. I painted it from a photograph of my very lovely and patient boyfriend, Warren. He is not quite as creepy-looking in real life.

The next thing I have on tap is the textiles show at the college. The poster was finalized this week. Perhaps a little more pinky than I would have chosen, but certainly eye-catching. It reminds me of a fairy tale landscape.

It`s going to be a beautiful show. I am lucky to be in a small department with exclusively talented people. It raises the bar for my own work and they are a constant source of knowledge and inspiration.

Having a little trouble deciding what to put in. I can submit three pieces for consideration. My paper quilt is a given, and I`m working on a mixed media nursery rhyme collection I have high hopes for. Other than that, either my digitally printed pillow, my dino screen prints, or my blimps and balloons pattern croquis. I`ll post them up here this weekend and you fine people can help me decide.